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posing the black figure

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Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 40–51.
Published: 01 November 2016
... forget that he is the creator of the artists we see within the paintings. Copyright © 2016 Nka: Journal of Contemporary African Art 2016 artist’s studio self-portraits black portraiture posing the black figure POSING THE BLACK PAINTER KERRY JAMES MARSHALL’S PORTRAITS OF ARTISTS’ SELF...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 110–120.
Published: 01 November 2016
... representations of the black figure and examines the continuation of, as well as the challenges to, certain tropes that have been used to frame blackness, femaleness, and tropicality. Copyright © 2016 Nka: Journal of Contemporary African Art 2016 Barbados mulatto Agostino Brunias colonial art...
Journal Article
Nka Journal of Contemporary African Art (1 May 2000) 2000 (11-12): 48–55.
Published: 01 May 2000
... to the murder of Stephen of the comforting Powellite scenario in which Lawrence and the institutional failures that feral black youth preyed on frail, vulnerable and compounded...
Journal Article
Nka Journal of Contemporary African Art (1 May 2015) 2015 (36): 6–15.
Published: 01 May 2015
... fire, galvanizing the Black community, acutely stream media) overturning a Ford Transit Black increasing its sense of injustice, identity, and pur- Maria, recently abandoned by the retreating police, pose. Among many Black people, at least, specula- who fled the immediate vicinity. The hapless...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 8–21.
Published: 01 November 2011
... her poems around ticipating in it. He attributes tremendous motion to in his back pocket.”21 Protest and cultural move- the “New Negro” and figures the “Old Negro” as the ments such as the Black Arts...
Journal Article
Nka Journal of Contemporary African Art (1 November 2015) 2015 (37): 28–37.
Published: 01 November 2015
... right time, with the right face, figure and style.” 21 brother King Olimi III’s most trusted adviser. The Black Is Beautiful movement and soul culture After Ugandan Prime Minister Milton Obote more broadly had become commercially viable, dismantled all traditional kingdoms, the princess making...
Journal Article
Nka Journal of Contemporary African Art (1 November 2015) 2015 (37): 62–69.
Published: 01 November 2015
... “throw shade” is ing, protecting, empowering them.24 The creative to “trash talk”; to “serve face” is to pose confidently destruction, opening up, and distribution of her with a “back at you” connotation), “Q.U.E.E.N.” (and classic black-and-white “look” transform Monáe’s Electric Ladyland more...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 32–39.
Published: 01 November 2016
... blackness and black people with a perverse foreignness. In the figures of Soubise and Shonibare, these insults are turned into a fabulous, subversive queerness productive of both nurture and death. Copyright © 2016 Nka: Journal of Contemporary African Art 2016 dandyism blackness queerness Oscar...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 142–151.
Published: 01 November 2016
... black bodies with objects or female bodies, Green turns the tables on specta- other figures invites viewers to physically and psy- tors and subjects them to treatment partially echo- chically identify with black subjects or assess their ing that endured by Baker and Baartman. In fact, own...
Journal Article
Nka Journal of Contemporary African Art (1 November 2013) 2013 (33): 8–19.
Published: 01 November 2013
...Peter Erickson Shakespeare is a cultural institution whose racial structures Fred Wilson began mining in his exhibition, Speak of Me as I Am , at the Venice Biennale in 2003. As the quotation from Othello’s concluding speech signals, Wilson initially focused on the play’s black figure. Wilson’s...
Journal Article
Nka Journal of Contemporary African Art (1 May 2015) 2015 (36): 40–47.
Published: 01 May 2015
... Williams’s salute to the ed by the central figure and positioned just below Black Panther Party, specifically its minister of de- center, the axe appears to shatter the pictorial plane fense Huey Newton, in Meaningful Dialogue (1969) of the canvas, which Donaldson variously labeled, or Jae Jarrell’s...
Journal Article
Nka Journal of Contemporary African Art (1 November 2017) 2017 (41): 126–139.
Published: 01 November 2017
..., with Wiley and his subjects movement from the 1930s through the 1950s that selecting their poses from textbook reproductions redefined blackness within a collective African of Old Master works. He depicted these figures on identity and cultural tradition.1 Inspired by the a large scale, placing...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 70–79.
Published: 01 November 2016
... movement and change, where urban grit artists reformulate portraiture as a response to the and sensuality combine: a place of constant parad- black body and its histories rather than use portraits ing, casual exchanges, and careful posing. Noticing of black subjects to challenge art history’s status...
Journal Article
Nka Journal of Contemporary African Art (1 November 2001) 2001 (15): 88–89.
Published: 01 November 2001
... disintegrating hip- Black Photography impressive trio of participating Woods and Keisha Scarville, both hop posters. The work of both artists (Anthony Barboza...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 110–117.
Published: 01 November 2011
... innovations ity from its own nexus, not filtered through “white in music by black contemporaries were developing. supremacist eyes.”6 Although Powell’s position is Lewis, who took inspiration from innovations in figuratively and literally in the middle of the Dark jazz in his work Blending (1951...
Journal Article
Nka Journal of Contemporary African Art (1 November 2015) 2015 (37): 104–113.
Published: 01 November 2015
... for whom she posed were photographers Berenice Abbott and Addison Scurlock and sculptors Richmond Barthé and Augusta Savage. Her parties were legendary. Whether at Villa Lewaro (her mother’s Irvington, New York, mansion), at The Dark Tower (a converted floor of her 136th Street townhouse), or at her...
Journal Article
Nka Journal of Contemporary African Art (1 May 2011) 2011 (28): 78–87.
Published: 01 May 2011
... between Africa and Europe, an interconnected history that remains an integral component of modern-day globalization. This essay considers the historical significance and legacy of this exhibition as well as the extensive accompanying catalogue and concludes that the challenging questions posed by Who...
Journal Article
Nka Journal of Contemporary African Art (1 November 2011) 2011 (29): 50–61.
Published: 01 November 2011
... for low “color” visibility?1 The title Big Black suggests a godlike figure, yet the figure seems deliberately not personified but pro- posed in terms of the basic...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 14–21.
Published: 01 November 2016
...Richard J. Powell The most iconic image that accompanied the 1996 publication of 20th Century Photography: Museum Ludwig, Cologne —and one that continues to intrigue scholars of black diasporic visual culture—was the German photographer Charlotte March’s black-and-white photograph Donyale Luna with...
Journal Article
Nka Journal of Contemporary African Art (1 November 2016) 2016 (38-39): 96–100.
Published: 01 November 2016
... but already formidable and seeming unable to be in.”4 contained by his jeans, the figure stands in poetic Indeed, what do these images say to and about comparison to Man in Polyester Suit, revealing how black men’s desires, both to be seen or framed in the object is contained in Mapplethorpe’s...